Volume III of this three-volume set is dominated by one of the eminent theorist's most celebrated studies: the analysis of Beethoven's "Eroica" Symphony. All four movements are discussed in painstaking detail.

This study focuses on a continued evaluation and integration of Schenker’s work, specifically the role of his ever-deepening understanding of counterpoint in musicalistic structures, both horizontal (melodic) and vertical (‘chordal’). It reformulates the role of this understanding in discerning the atomic, primitive elements of an abstract human species-specific, cognitive-computational process. We conjecture that the fundamental technical concepts of counterpoint plausibly form the basis of natural musical logic and coherence and somehow reflect the basis of a representing system for a generative capacity evidenced in the creation and interpretation of musicalistic expressions. It is plausible to assume that a thorough investigation of the musical generating principles of consonance and dissonance, as developed through the technical perspective of species counterpoint, can lead to surprising insights necessary for the formulation of a general theory of music. Music, like language, is obviously an extremely complex system. Music theory must simplify this complexity and endeavour to discover its primitive elements which can be used to develop a systematic representation of levels that contributes to greater descriptive and explanatory salience of musicalistic structure.

Enth. u.a. "The polyphony of Heinrich Glarean's 'Dodecachordon'" (S. 115-176).

The first book to be devoted to the music of Stravinsky's last compositional period.

Volume II of three-volume set features an essay on Mozart's Symphony No. 40 in G Minor, studies of Bach keyboard and solo cello works, and theoretical writings on sonata form and fugue and Schenkerian theory.

This book explores the work of three significant American women composers of the twentieth century: Ruth Crawford, Marion Bauer and Miriam Gideon. It offers information on both their lives and music and skillfully interweaves history and musical analysis in ways that both the specialist and the more general reader will find compelling. Ellie Hisama suggests that recognising the impact of a composer's identity on the music itself imparts valuable ways of hearing and understanding these works and breaks important new ground towards constructing a feminist music theory.

To the growing list of Pendragon Press publications devoted to the work of Heinrich Schenker, we wish to announce the addition of this much-needed bibliography. The author, a student of Allen Forte, has created a work useful to a wide range of researchers music theorists, musicologists, music librarians and teachers. The Guide is the largest Schenkerian reference work ever published. At nearly 600 pages, it contains 3600 entries (2200 principal, 1400 secondary) representing the work of 1475 authors. Fifteen broad groupings encompass seventy topical headings, many of which are divided and subdivided again, resulting in a total of 271 headings under which entries are collected.